














EXHIBITION OF 


MODERN ITALIAN ART 


UNDER THE PATRONAGE OF 


HIS MAJESTY THE KING OF ITALY 


ORGANIZED BY THE 


ITALIAN MINISTRY OF PUBLIC INSTRUCTION 


INTRODUCTION BY 
ARDUINO COLASANTI 


Director General of Fine Arts, Italy 


FOREWORD BY 
CHRISTIAN BRINTON 


AUSPICES OF THE 
ITALY AMERICA SOCIETY 
GRAND CENTRAL ART GALLERIES, NEW YORK 
1926 


PRINTED FOR THE ITALY AMERICA SOCIETY 
FIRST IMPRESSION, TEN THOUSAND COPIES 
COPYRIGHT, 1926, BY THE ITALY AMERICA SOCIETY 
COVER DESIGN REPRODUCED FROM A PHOTOGRAPH OF 


VICTORY, BY ADOLFO WILDT 


REDFIELD-KENDRICK-ODELL COMPANY, INC. 
NEW YORK 





MEDARDO ROSSO_ Ecce Puer 





Lent by the Brooklyn Museum 


GIOVANNI BOLDINI Portrait of Whistler 


NOTE ON THE EXHIBITION 


[ 1s with the greatest pleasure that the Italy America Society presents and 
commends to the American public the first exhibition of Modern Italian 
Art which the Italian Government has, on our invitation, assembled and 
sent to this country. In art Italy carries not only the glory but the weight of 
a past so extraordinary that it is indeed difficult for a contemporary artist 
coming from Florence, Rome, or Venice to overcome the handicap of the 
names of his countrymen which echo in schools and museums throughout 
the world. Italy offers the student of art so great a task, and such an abun- 
dance of material from the past, that we are easily led to disregard the 
achievements of the present day. The exhibition organized by the Italian 
Ministry of Public Instruction, of works chosen under the personal super- 
vision of one of Europe’s foremost art critics, Arduino Colasanti, Director of 
the Department of Fine Arts, tells us that united Italy is second to no great 
nation in number of artists, and in sincerity of artistic expression, the in- 
fluence of which has been widely felt beyond the narrow borders of the 
country itself. The Italy America Society is deeply grateful to His Majesty, 
the King of Italy, who granted the exhibition the honour of his patronage; to 
His Excellency, the Italian Ambassador, and to His Excellency, Honorable 
Benito Mussolini, for the generous support of the Government; to the Min- 
istry of Public Instruction, and particularly to the Department of Fine Arts, 
which assembled the collection. The work of the Italy America Society in 
presenting the exhibition in the United States has been made possible 
through the co-operation of the Grand Central Art Galleries, New York; 
the Museum of Fine Arts, Boston; the National Gallery of Art, Washington; 
the Art Institute of Chicago, and the California Palace of the Legion of 
Honour in San Francisco. To Dr. Christian Brinton the Society expresses 
sincere thanks for his valued assistance in the preparation of the notable 
catalogue, and to the Brooklyn Museum for the loan of the portrait of 
Whistler by Boldini. The officers of the Society are particularly indebted 
to Dr. Lauro de Bosis and to Mr. Abram Poole who first conceived the idea 
of organizing the exhibition, which was consummated by the active work of 
the Committee on Arts and Letters, of which Mr. Otto H. Kahn is Chair- 
man, and by the united support of the Society. 


Tuomas W. LAmont, 
President of the Italy America Society. 


ANTONIO MANCINI  Azaleas 





FOREWORD 


By CuristiAN BRINTON 


INCE aesthetic reciprocity is fast becoming a distinctive feature of inter- 
national amity, it is with grateful appreciation that we welcome the 
artistic achievements of our friends from overseas, and from time to 

time are moved to respond in kind. Post war exhibitions of foreign art in 
America have thus far included more or less representative displays from 
England, France, Sweden, Holland, Switzerland, and Russia. Italy, the 
veritable cradle of modern art, and creator of the modern social order has not, 
however, appeared officially in our midst since the Panama-Pacific Exposition 
at San Francisco in 1915. Generally speaking, we do not know what changes 
have been wrought in the spirit and character of Italian artistic production 
since the shock and stress of war and the heroic period of recuperation. It 
thus remains for the present exhibition to reveal Italy of to-day as seen 
through the eye of the creative artist. 

The Italy that comes to us flushed with new-found glory is the same 
Italy over which has for ages brooded the spell of antique beauty. There has 
simply occurred during these last brief years another Rinascimento, a New 
Renaissance, which but throws into sharper relief certain fundamentally 
Italian characteristics. Nurtured upon a pregnant past, and reaching 
valiantly toward fresh conquests, the rhythm of Italy is more clearly defined 
than is the evolutionary curve of other countries. The various modern 
artistic movements from the Divisionism of Segantini and Previati to the 
Dynamism of the Futurists each possesses a plastic appeal typical of a race 
noted for vivid expressional eloquence. It is in fact this same faculty for 
plastic expression that constitutes the keynote of contemporary Italian art. 

The aim of the present exhibition is to offer a balanced and comprehensive 
picture of current Italian artistic activity. The picture opens with the work 
of the great protagonists, Boldini, Mancini, and Medardo Rosso, and closes 
with a courageous presentation of Futurist painting and decorative art. 
Every movement of consequence finds place on these walls, with special 


emphasis upon the work of certain painters and sculptors who have risen to 
prominence as the result of post war influences. You will hence be able to 
adjudge the merits of what may be termed the living art of Italy. You will 
be able to trace in line, colour, and form the artistic physiognomy of a country 
recently fired to new effort yet ever mindful of its heroic heritage. 

The first feature that is apt to strike the sympathetic observer upon 
viewing the collection as an ensemble is its sturdy independence of inspira- 
tion, its aesthetic autonomy. During periods when most of the world was 
striving by turns to be Impressionist or post-Impressionist, Cezannist or 
Cubist, the Italians were working along lines at once individualistic and 
nationalistic. That species of artistic Francomania which flourished from 
Stockholm to Barcelona and from Manhattan to Moscow did not take serious 
root in the soil of Italy. The Divisionist technique which Giovanni Segantini 
evoked in anguish and exaltation amid the clear heights of the Engadine, 
instead of destroying, placed vigorous stress upon mass and contour. And 
similarly the sculptor Medardo Rosso declined to succumb to the spell of 
Rodin. He actually exerted considerable influence upon the master of 
Meudon in the matter of leading him from smooth pseudo-classicism toward 
a freer handling of surface and that subtle interplay of light and shade upon 
fixed surface which is the very soul of sculpture. The same is true of the 
Futurists who, led by their intrepid fugelman, Marinetti, turned Cubism, 
which was static, into something not alone dynamic, but kinetic. In each 
case these men proved themselves initiators not imitators, and as such added 
fresh vitality to the larger volume of their country’s artistic aspiration. 

The most copiously represented of the older group of contributing 
painters, and the one whose work will probably attract the major measure 
of attention, is the fertile Mancini, who has been a figure of international 
importance for some decades. Mancini no longer inhabits his picturesque 
studio in the Via Margutta, the artists’ quarter of Rome. He has recently 
moved to more commodious lodgings. It was a pleasure to find that he had 
prospered, but even more so to realize that, despite his fourscore years and 
above, he was still painting with his old-time zest and dexterity. It is an art 
that appeals to eye rather than mind, that belongs to the realm of material 


objects rather than the questing reaches of the imagination. Yet, what 
painter has extracted so much joy out of sheer masses of pigment, such 
sensuous delight from the gleaming surfaces of simple, actual things—a 
bouquet of flowers, the glint of silk, the glance of an eye, the flash of a fan. 

A wizard of equal witchery is Boldini, though what Mancini achieves 
with the free manipulation of mass, Boldini attains through the nervous play 
of line and movement. Painting with Mancini remains, however, manner. 
With Boldini it rises to the pitch of genuine style, something akin to the 
swagger baroque of Bernini. Whatever the distance that divides the two, 
they stand the undisputed masters of contemporary Italian) portraiture, 
Mancini with a sprightly charm that recalls Naples, where he studied, 
Boldini with a cosmopolitanism acquired during fifty years’ residence of Paris. 

Upon paying appropriate respects to the work of Michetti, Sartorio, and 
the men of the succeeding period such as the sensitive feminist, Innocenti, 
one may proceed to a consideration of certain younger talents. Among these 
may be cited Spadini, Casorati, Oppi, Ferrazzi, De Chirico, Conti, and 
Donghi. While Spadini’s lustrous colouristic vision was almost exclusively 
dedicated to scenes from domestic life, the work of his colleagues marks the 
advent of that New Classicism so popular in present-day Italy. Something 
of the spirit of bygone Hellas seems to have been wafted across to the land 
of cypress and sun, for these painters one and all worship purity of form and 
clarity of contour. Casorati and Oppi are the most convinced and consistent 
of the group, yet each is in some measure impelled by a well defined impulse 
to renounce the accidental and superficial, and reflect the reasoned unity of 
sober colouration and essentially integral volume. It is these artists who have 
been carrying off most of the honours at the Biennial Exhibitions in Venice 
and Rome, and whose influence is paramount in the field of pure painting. 

The reversion to formal tradition, and the appeal of intellect rather than 
creative instinct which characterizes the attitude of the foregoing men, finds 
its antithesis in the production of the Futurists, whose work is astir with 
dynamic impetus. Balla, Depero, Prampolini, and their associates attack 
virtually every phase of aesthetic endeavour, and to each add their quota of 
that vital, daring Marinettismo which animates them all. There are those 


who maintain with touching elation that Cubism is dead, but whether or not 
this be so the same cannot be charged of Futurism. Possessing an active 
emotional content, and an unfailing mental flexibility, the Futurists have 
year after year scored fresh triumphs in various fields. 

Standing apart from his fellow painters in self-imposed isolation is the 
figure of Modigliani, who drifted to Paris to win, almost at the same moment, 
triumph and a tragic end. A modernist in the vein of Derain and Picasso, he 
nevertheless harks back to his native land, to the remote allure of Tuscan 
primitive—to a mystic, sensuous appeal without time or date. And just as 
Modigliani is a unique apparition in the province of painting, so is the 
Milanese, Adolfo Wildt, a kindred phenomenon in contemporary Italian 
sculpture. Unequal though it be, the production of Wildt is touched by a 
psychic evocation, a power of symbolic expressionism, that place him in a 
category by himself. He seems the one Latin artist who has, so to speak, 
broken the classic mould—who has felt the breath of Northern mystery. 

The balance of the sculpture, including the sincere fusion of classic tradi- 
tion and modern sentiment which typifies the vision of Antonio Maraini, 
together with the display of black and white and of applied art, complete 
our brief survey of the exhibition. In all this work you will have discerned a 
distinct regard for form as such, a marked degree of pure plasticity of inspira- 
tion. These walls do not glow with the chromatic fantasy to which our 
Slavic friends have accustomed us for, save the Futurists, the Italians are 
not vivid, luminous colourists. In compensation, however, this art evinces an 
assured measure of structural integrity. Strength of design it also possesses, 
and likewise unity of purpose. It indeed everywhere displays the purposeful 
unity of an aspiring and homogeneous people. . 

As the artistic expression of a country whose past is of transcendent 
glory, the current exhibition would in any event command attention. Yet 
this is not all, for the soul of Italy has not been strangled, but strengthened 
for fresh effort by the legacy of formal beauty. That art is playing its 
appointed part in the present Risorgimento there are numerous indications. 
Already from the fluted throat of Wildt’s valkyr one seems to hear the clear 
call to a still higher national destiny. 


CATALOGUE 





PAINTING 


BALLA, Gracomo 


Born in Turin, 1874. Studied painting alone and won recognition at an early age. He 
has constantly searched for new technical methods and has worked independently of 
any school, alike indifferent to criticism or appreciation. He attempts to interpret 
movement in colour and form. Lives in Rome and is a prominent member of the 
Futurist group. 


1 Forest Motivation 
2 Sensation of Spring 
3 Idea 


BOLDINI, Gtovanntr 


Born in Ferrara, 1854. Studied painting at first under his father, then at the Academy 
in Florence. He obtained his first professional success in London. In 1872 he went to 
Paris where he has lived ever since and obtained world renown as a portraitist. His 
water colours are as much admired as are his works in oil, and besides portraits he has 
been successful in composition and landscape. Represented in the Gallery of Modern 
Art in Rome, the Brooklyn Museum, and numerous important public and private 
collections. 


4 Portrait of Whistler 
Lent by the Brooklyn Museum 


5 Portrait of Mrs. Rita de Acosta Lydig 
Lent by Mrs. Lydig 


6 After the Ball 


CADORIN, Gurpo 


Born in Venice of a family of artists, he attained recognition at the age of nineteen by 
his paintings exhibited in the Gallery of Modern Art, Rome. The King of Italy 
acquired his Cigarette Makers which was exhibited at the Venice Biennial in 1920. 
He has recently been dedicating himself to applied art, rediscovering a number of 


ancient technical processes. He has produced metal plates, lacquer furniture, printed 
silks and canvases. His genius as a decorator has found its most complete expression 
in the restoration of the Papadopoli Villa near Vittorio Veneto. 


7 Model 

8 Square in Venice 

9 Canal in Venice 
10 Fishing with Harpoon 
11 Spring on the Lagoon 


CASORATI, FELICE 


Born in Novara, 1885. At present lives in Verona. Studied law, music and litera- 
ture and finally turned to painting under the guidance of Vianelli at Naples. His first 
paintings were accepted at the Biennial Exhibition at Venice in 1907, the same year in 
which he obtained his Doctorate in Law at the University of Padua. Casorati deliber- 
ately omits detail, in attempting an almost abstract search for the essential forms of 
things. 


12 Portrait of Signor Riccardo Gualino 
13 Portrait of Signora Riccardo Gualino 
14 Portrait of Signor Beria 

15 Pasha 

16 Midday 


CONTI, Primo 


This young Florentine on the occasion of his special exhibition in Rome in connexion 
with the third Biennial had the good fortune to provoke heated controversy among 
the critics, some of whom lauded him as a dawning prodigy while others saw in him an 
imitator of Tito. He is certainly one of the most interesting figures in contemporary 
Italian art. The free composition of his Rape of the Sabines and his Golgotha are in 
strong contrast to the sobriety of his Mother in the Red Blouse, and his portraits of 
Chinese characters. 


17 Liung-Yuk 
Lent by the Gallery of Modern Art, Florence 
18 Chinese 


DE CHIRICO, Gtorcto 


Born in Greece, 1888, of Italian parents. Has studied and lives in Rome. His 
original style created great interest in France, Belgium, and Italy where he has par- 
ticipated in a number of exhibitions. His art has been described as having a meta- 


physical character. With an original and extremely modern technique he seems to 
have felt the influence of the Italian masters of the fourteenth century. Among his 
works are Hector and Andromaca, The Trovatore, The Troublesome Muses. 


19 Portrait of the Artist 
20 Portrait of the Artist’s Mother 


DEPERO, Forrunato 


Born in Rovereto, Venetia. Lives in Rome. Depero is one of the most prominent artists 
belonging to the Futurist movement. He has been an exhibitor in national as well as 
international exhibitions and created numerous controversial discussions. Like all 
Futurists he has been especially successful in decorative and applied art. His clever 
toys, stage decorations, tapestries,and furniture created a sensation at the Exhibition 
of Decorative Arts in Paris, 1925. 


21 Wild Horses 
22 Train at Dawn 
23 Woman Embroidering 


DONGHI, Anronto 


Born in Rome, 1897, where he pursued his studies at the Institute of Fine Arts. 
After fighting as a soldier in the World War he devoted himself while at Florence and 
Venice to a painstaking study of the art of the seventeenth and eighteenth centuries. 
He won his first notable success at an exhibition held in the Bragaglia Gallery in Rome. 
Lives and paints in his native city. 


24 The Artist 

25 Bridge 

26 Baroque Church 
27 Street 

28 The Stairway 

29 The Table is Set 
30 At the Inn 

31 The Fortune Teller 
32 Nude 

33 Washerwomen 


FERRAZZI, FEerRruccto 
Born in Rome, 1891. He copied old masters for a time under the guidance of his 
father and then studied under Coromaldi and Sartorio at the Institute of Fine Arts in 
Rome. Devoted at first to Segantini, he then passed a short but interesting interval in 


34 
39 
36 
on 
38 
39 
AQ) 
Al 
42 


the Impressionist movement from which he reverted to the masters of the fifteenth 
century. Now at thirty-four he has developed a highly original art not without traces 
of the varied influences of his early years. In sculpture also he has attained consider- 
able distinction. 


The Idol 

The Storm 

Valley of Tivoli 
Aniene River at Tivoli 
The Tragic Journey 
Horitia and Child 
Adolescence (Study) 
Family of the Artist 
Study for the Above 


INNOCENTI, Camitio 


43 
AA 
AD 


Born in Rome, 1871. At first a student of classical literature, he became interested in 
art after working as a model for Ludovico Seitz. During subsequent travels in Spain he 
developed a passion for Velazquez, but eventually turned from this master to devote 
himself to pointillism. After 1911 his work became frankly impressionistic with an 
insistence upon the picturesque somewhat reminiscent of his early Spanish experience. 


Andalusian Woman 
The Black Veil 


Summer 


MANCINI, ANTONIO 


46 
AT 
AS 
49 


Born in Albano, near Rome, in 1852. He owes much to Naples where he studied under 
Domenico Morelli and where he won his first success in 1877 with a canvas entitled 
Love Thy Neighbour as Thyself. Mancini is a realist but his realism is pervaded by an 
invincible cheerfulness and good humour. With the years his work acquired a certain 
complexity of detail which has induced some critics to prefer his earlier productions. 
Public galleries in Rome, Munich, Amsterdam, Dublin, Florence, Boston, and New 
York contain masterpieces by this artist. 


Desires 

Peasant Girl 

In the Garden 
Venetian Woman 


30 
ol 
o2 
d3 
o4 
Sys) 
56 
a7 


Azaleas 

The Scarf 

Flags 

Girl with Mandola 
Landscape 

Portrait of the Artist 
Bandit 

Spring 


MICHETTI, Francesco Paoto 


28 
39 
60 
61 


Born in Tocco Casauria, Abbruzzi, in 1851. He studied painting under Morelli in 
Naples, returning thereafter to the solitude of his native village. At the Neapolitan 
Exhibition in 1877 his Corpus Domini, depicting a popular religious ceremony of the 
Abbruzzi, brought him suddenly into fame. He is commonly regarded as a counterpart 
in painting of his great friend d’Annunzio for whose tragedy entitled The Daughter of 
Jorio, he made a painting of the same name, acquired by the German Kaiser, which is 
considered his masterpiece. He is now a senator and lives in an old convent at Franca- 
villa al Mare, in the Abbruzzi. 


Golden Clouds 
Head of Peasant 
Landscape 
Sheep and Goats 


62 In the Grass 


63 


On the Beach 


64 Abbruzzi Landscape 


65 


Peasant Woman 


MODIGLIANI, AmEpDEO 


66 


Born in Livorno in 1884. After graduation from a classical high school he applied him- 
self entirely to painting, first at Livorno under Micheli, then at the Florence Academy 
of Fine Arts. He made brief sojourns in Rome and Venice and thence went to Paris 
where he lived the rest of his brief life as a member of the group called La Jeune 
France. For a time he followed the French Cubists but soon evolved a manner quite 
his own which has something of the feeling of the Italian Primitives. He died in Paris 
in 1920. 


Portrait of M. Baranowski 
Lent by H. Bing § Cie 


67 Madame Modigliani 
Lent by H. Bing g Cie 


68 Blonde 
Lent by H. Bing § Cie 


69 Nude 
Lent by H. Bing § Cie 


70 Young Woman 
Lent by Mr. Paul Reinhardt 


71 Portrait 
Lent by the New Gallery 


NOCI, Arturo 


Born in Rome where he studied painting at the Royal Institute of Fine Arts. He 
followed for a while the Divisionist movement and developed an independent technique, 
devoting himself both to landscape and portraiture. He is the winner of several com- 
petitions and has partaken in numerous national as well as international exhibitions. 
Two of his paintings have been bought by the National Gallery of Modern Art in 
Rome. Noci is at present a resident of New York where he is chiefly known as 
a portrait painter. 


72 Venetian Fisherman 
73 Portrait 


OPPI, Usa.po 


He was born in Bologna where he at present lives. Considered as one of the most 
promising among the younger artists, he awakened great interest at the latest Biennial 
Exhibitions both in Venice and in Rome. One of his pictures was awarded the Gold 
Medal at the last Carnegie Institute Exhibition in Pittsburgh. He is a realist, but 
his realism is distinguished by classic severity and accuracy of detail. 


74 Fishermen at Santo Spirito 
75 Breton Girl 


PRAMPOLINI, Enrico 


With Balla and Depero, he completes the Futurist triumvirate. While he was born in 
Milan he is a resident of Rome, and was one of the first to follow the movement headed 
by Marinetti and Boccioni. He has been particularly successful in the decorative arts, 
having been awarded the Grand Prix and three Silver Medals at the Exposition of 
Decorative Arts in Paris, 1925. Editor of the Futurist Review. 


76 Jazz Band 


TE ouvetities Architecture 
78 Portrait of the Artist 
79 Capri 


ROMAGNOLI, Gtovanni 


Born in Faenza, 1893. Studied fine arts at the Institute of Bologna under Domenico 
Ferri and Augusto Majani. He made his debut at the Promotrice of Bologna and the 
Secession of Rome. Since then he has regularly taken part in all the Italian exhibitions 
of national importance. His latest work reveals considerable advance both in emo- 
tional content and in technique. His Ballerina is on permanent view at the Gallery of 
Modern Art in Rome. 

80 Cherries 

81 Nude 

82 Pomegranates 


83. Diana 


SARTORIO, Grutto ARISTIDE 


Born in Rome, February 11, 1860, he came from a family of poor artists and received 
his first instruction from his father who was a sculptor. At the age of seventeen he was 
making his living as a designer. He had the good fortune to enlist the interest of Nino 
Costa, Giuseppe Raggio, and Michetti, who saw in him the promise of a great artist. 
He spent two years in England and finally settled in Rome where he has attained great 
fame in landscape, composition, and decorative painting. A master of pastel, the 
Roman Campagna found in him an illustrator of classic accuracy. He is the author 
of the monumental frieze in the Italian House of Parliament. 


84 Portrait of a Girl in the Open 
85 Malaria 

86 Ponte Milvio 

87 Alpine Posto 

88 Windmill at Terracina 

89 The Pines at Fregene 

90 Along the Shore 

91 Pine Trees 

92 Funeral on the Adamello 


SIRONI, Marto 


93 


Born in Sassari, Sardinia, 1885, Sironi is a Roman by training and experience, and of 
late a resident of Milan. Belongs to the Twentieth Century Group which commanded 
considerable attention at the recent exhibition in Venice. He is a synthetic artist, but 
an Italian synthetist, enamoured of the seventeenth century. Well known also as a 
caricaturist, he regularly draws for Mussolini’s paper, Il Popolo d’Italia. 


The Architect 


SPADINI, ArnmMAnpbo 


94 
95 
96 
97 
98 
99 
100 
101 
102 
103 
104 
105 
106 
107 
108 


Born in Florence, 1883. A self-made artist he began with the decoration of pottery, 
an activity to which critics have attributed the luminosity and lustrous glazes which 
characterize many of his canvases. He won a most spectacular and sensational success 
at the Venice Biennial in 1924 which brought him to the forefront among contemporary 
Italian artists. He died in Rome, 1925, in the full flower of his art. 


The Kiss 

The Visitation 

The Toilette of Venus 
Asleep 

Wife of the Artist 
Anna in White 

Study Hour 

The Marriage of St. Catherine 
Mother and Child 
Cat and Kittens 

Boy with Lobster 
Children with Fruit 
Landscape 

Park 

Villa Borghese 


SCULPTURE 


ANDREOTTI, Lisero 


Born in Pescia, Abbruzzi, Andreotti was successively blacksmith, bookstore clerk, and 
caricaturist before turning to sculpture where he has won renown. He studied modelling 
first in Florence, then in Paris, where he remained until 1914. For a time under the 
influence of Bourdelle, he now finds his principal inspiration in the Tuscan art of the 
Renaissance, especially in Jacopo della Quercia. His Italian Mother will soon be un- 
veiled in the Santa Croce in Florence, where he occupies the chair of sculpture at the 
Institute of Decorative Art. 


109 Girl with Cherries 
110 Bather 


DAZZI, Arturo 


Born in Carrara, January 13, 1881. Dazzi’s work reflects the spirit of his marble-ribbed 
Alps. He has given Italy two famous war monuments, one to the hero Enrico Toti, 
and one to the railwaymen who died at the front. One of his statues has found its way 
across the Atlantic to Lima, Peru. He contributed the reliefs to the Banca d’Italia 
building in Rome, and to the Triumphal Arch in Genoa. 


111 Antonella 

ies Calt 

113 Nymph 

114 American Girl 
115 Spring 


GEMITO, Vincenzo 


Born in Naples, May 11, 1852. He studied under Lista and Caggiano, and in 1867 
obtained a sensational success with his Fisher Boy which was acquired by Meissonier 
and has now found a permanent home at the Bargello in Florence. Moving to Paris he 
became one of the most popular artists of the French capital and filled many orders for 
busts, portraits, and statuettes. Famous are his Water Boy, The Spring, and Neptune. 


He had a strong sense of the lure of the sea which he preferred to envisage under 
reconstructions of a mythical seafaring universe. His energetic career was hampered 
by an attack of insanity which, though subsequently cured, left him without the 
original fullness of his powers. 


116 The Philosopher 
117 Child 


GERARDI, ALBERTO 


A Roman by birth. For a long time principal of the Artigianelli Institute on the 
Aventine. He is now a teacher in the School of Applied Arts in the Viale Manzoni in 
Rome. Gerardi is a sculptor of distinction but he owes his fame to his work in iron 
which was first exhibited in the Biennial in Rome and later at the Pesaro Gallery in 
Milan. Some of his chalices and pieces of Franciscan inspiration may be seen at the 
Permanent Exhibition of Christian Art in Venice. Certain of his best things were ex- 
ecuted at the request of d’Annunzio. Of late he has turned to portraiture in iron 
and bronze. 


118 Portrait of a Man 
119 The Artist’s Daughter 


MARAINI, ANnrTonto 


Born in Rome, 1881. He has enjoyed a classical training and taken his degree in law. 
Has written extensively as a critic. He executed his first works under the encourage- 
ment of the painter Bargellini in whose studio he modelled a statuette called Perseus 
which was awarded a silver medal at Brussels. His most famous work is the Via Crucis 
erected in a church on the Island of Rhodes. His bas reliefs exhibited at the recent 
Biennial in Venice attracted wide and favourable attention. 


The Kiss 
Visitors 
Bathing 
Eve 


PRINI, Giovanni 


Born in 1877 at Genoa, where he studied sculpture at the Ligurian Academy of Fine 
Arts. Made his debut with his Brides of Liguria at an exhibition in Turin in 1890. 
For many years he has lived in Rome. His Portrait of a Woman has been acquired by 


the Gallery of Modern Art in Rome. His many statues, mortuary monuments and 
votive chapels reveal broad human sympathies and express a mood of melancholy 
resignation. Displays great talent in his combination of sculpture with architectural 
motives. 


124 The Family Idol 


ROSSO, Meparpo 


125 
126 
127 
128 


Born in Turin, June 20, 1858. Was at first interested in painting which he studied 
without a teacher. To this early experience are attributed certain characteristics of his 
later masterpieces. Until the time of the post-Impressionistic and synthetic reaction 
Rosso exerted a great influence in Europe. French critics credit him with having 
weaned Rodin away from Renaissance smoothness as well as from excessive fondness 
for displaying physical strenuousness. 


Child 

Ecce Puer 
Reading 
The Servant 


SELVA, ATrTritio 


129 
130 
131 
132 


Born in Trieste, 1883, where he studied at the Industrial School. In 1907 he won the 
Roman Fine Arts Prize and has since been living in the capital with his family. His 
wife has been his favourite model. He leapt into-prominence first at the Secession and 
later through a private exhibition held in Rome. Three of his works: The Sabine Girl, 
The Riddle, and The Idol, have been acquired by the Gallery of Modern Art in Rome. 
He is also distinguished in portraiture. 


Primrose 
Sergio 
Mariella 
Child 


WILDT, Abotro 


Born in Milan in 1868. Wildt’s work has provoked vivacious and contradictory dis- 
cussions. A sculptor of vast experience, he has developed extraordinary fluency as 
a stylist and a virtuoso not without great variety of mood. Perhaps the perplexity 


133 
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135 
136 
137 
138 
139 
140 


which his art arouses is due to the fact that he is thought of not as a primitive but 
rather as baroque. His predilection for deep incisions and low reliefs, his expressionism, 
in short, tends to support these conclusions. At first regarded as a realist he is now 
classed among the symbolists. Among his outstanding works are his Trilogy, The 
Funeral Monument of the Boschi Family, his Mask of Grief, and his Conception. 
Portrait of the Artist 

His Excellency Benito Mussolini 

Maria 

The Idiot 

The Virgin 

Child 

Victory 

Prisoner 


GRAPHIC ART 


CARBONATI, Antonio 


Born in Mantua, June 3, 1893, now a resident of Rome. Studied engraving in Venice 
under Ettore Tito and subsequently in Rome under Aristide Sartorio. Noted espe- 
cially for engravings, often with a humorous touch illustrating modern life in Rome— 
Campo de’Fiori, Island of San’ Bartolomeo, etc. More recently he has shown the 
influence of Paris, particularly of Meryon, in his prints. Two albums of his lithographs 
have been issued by Alinari. 


141-168 Etchings 


DAZZI, Romano 


1695 


Born in Rome, 1906, son of the sculptor Arturo Dazzi. Astonished his parents at the 
age of four by his imaginative drawings of figures in motion. He continued to draw 
without models, particularly reproducing images seen on the moving picture screen. 
Became famous during the war for remarkable military scenes drawn in the same man- 
ner. He participates in all national Italian exhibitions and is recognized as a young 
artist of unusual merit. 


183 Drawings 


DE CAROLIS, Apotro 


Born in Montefiore, Marche, 1874. Studied in Bologna and Rome. In decora- 
tive art a pupil of Alessandro Morani, in landscape painting, of Nino Costa. He 
now lives in Rome. De Carolis belonged to the d’Annunzio group together with 
Adolfo de Bosis, Scarfoglio, Michetti, and Sartorio. He owes his fame to his illus- 
trations in black and white for the works of d’Annunzio and Pascoli, and for many of 
the Greek classics, and is credited with the revival of modern Italian book illustration. 
He has achieved renown also through his frescoes in public buildings at Pisa, Ascoli, 
Bologna, and Arezzo. 


184-209 Woodcuts 


DISERTORI, BENvENUTO 


Born in Trent, 1887. For most of his life a resident of Florence. Known in Italy as 
one of the most distinguished Italian engravers. He is devoted to the past which he 
sees emerging from the ravages of time, and the ancient towns and villages of Umbria 
and Tuscany find in him a faithful illustrator. Disertori is remarkable for his ascetic 
moods which are partly disguised under his rigid classicism and accuracy of detail. 


210-214 Etchings 


DECORATIVE ART 


BALLA, G1acomo 
215-216 Painted Tapestries 


BALSAMO STELLA, Gurpo 


Born in Turin, 1887. Studied at Venice and in Munich, where he was awarded a gold 
medal. Took prominent part in the first exhibition of Italian decorative art at Stock- 
holm. At present a professor in the Royal School of Decorative Art, Florence. He has 
done much to reawaken public interest in decorative art. Besides his artistic furniture 
he is especially famous for his engraved glassware in which he has adapted old Italian 
styles to modern technical processes. 


217-221 Glassware 


BROZZI, RENatTo 


Born in 1887. He first acquired fame as a painter of animals which represent for him 
the study of a lifetime. He is particularly noted for his work in metal repoussé, 
silver plate, and medallions. In this field he has attained an unparalleled perfection of 
technique, particularly in his animal studies. He has the habit of making hundreds of 
sketches before attempting the relief which has all the accurate delicacy of Japanese 
painting. 


222 Silver Plate 
223-228 Medallions 


DEPERO, Fortunato 
229-245 ‘Tapestries 


GALLENGA, Marta Monact 


This youthful Roman artist has specialized in the decoration of cloths from which she 
designs frocks and cloaks usually of classical themes adapted to modern ideas of 
costume. She has exhibited her work in Rome, Holland, Belgium, Spain, and England. 
Was recently awarded the Grand Prix at the Exhibition of Decorative Arts in Paris. 


246-257 Fabrics 


PRAMPOLINI, Enrico 
258-265 ‘Tapestries 


VENINI, Paoto 


Originally from Milan where he was graduated as an engineer. Lives in Venice where he 
has established the glass factory which bears his name. It is his ambition to have 
Venetian glass return to the classic purity of form which was its original charm. 
The designs of many of the models here exhibited were taken from the paintings 
of Veronese, Titian, and Holbein. 


266-290 Murano Glassware 


ILLUSTRATIONS 





ADOLFO WILDT The Virgin 


she fp . 
of) me 
o4 A 





GIOVANNI BOLDINI Portrait of Mrs. Rita de Acosta Lydig 





ANTONIO MANCINI The Scarf 





RTORIO Along the Shore 


SA 


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4 


ARISTIDE 





Fisherman 


ARTURO NOCI Venetian 





ARMANDO SPADINI The Marriage of St. Catherine 





1SS 


ARMANDO SPADINI The K 





Journey 


FERRUCCIO FERRAZZI_ The Tragic 


UBALDO OPPI Breton Girl 








FERRUCCIO FERRAZZI The Idol 





Lent by the Gallery of Modern Art, Florence 


PRIMO CONTI Liung-Yuk 





GUIDO CADORIN Square in Venice 


neonate 


a 








MARIANO SIRONI_ The Architect 





herwomen 





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ANTONIO DONGHI 


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Lent by H. Bing & Cie, Paris 


AMEDEO MODIGLIANI Madame Modigliani 


Lent by Mr. Paul Reinhardt 


AMEDEO MODIGLIANI Portrait 








FORTUNATO DEPERO Train at Dawn 





ENRICO PRAMPOLINI Portrait of the Artist 


HOD casei 





. 


ing 


GIACOMO BALLA Sensation of Spr 


SCULPTURE 


4 





VINCENZO GEMITO The Philosopher 





MEDARDO ROSSO_ The Servant 





ARTURO DAZZI Nymph 





LIBERO ANDREOTTI Bather 





)VANNI PRINI_ The Idol of the Family 


C 


GI 


ATTILIO SELVA Primrose 








ADOLFO WILDT Maria 





ANTONIO MARAINI The Kiss 





ALBERTO GERARDI Daughter of the Artist 





ANTONIO MARAINI Eve 





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ITALY AMERICA SOCIETY 


“TO CREATE and maintain between the United States and Tlaly an 
international friendship based upon mutual understanding of their 
national ideals and aspirations and of the contributions of each lo prog- 
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FRANKLIN Q. BRown, Vice-President Guy LOWELL, Vice-President 


Henry BURCHELL, Secretary Francis D. Bartow. Treasurer 


Maurice A. OuDIN JOHN J. FRESCHI 
President of Board of Trustees Chairman Advisory Committee 


EXECUTIVE COMMITTEE 
THE OFFICERS AND 
Paut D. Cravatu, Chairman 


CHESTER ALDRICH CLARENCE DILLON Cuarves FE. MircHein 
CHARLES B. ALEXANDER A. H. GIANNINI Auronso P. VILLA 
Grorce F. Baker, Jr. Orro H. Kaun Henry Rocers WINTHROP 


COMMITTEE ON ARTS AND LETTERS 
Orro H. Kann, Chairman 


CHESTER ALDRICH Tuomas W. Lamont Guy LOWELL 

Riccarbo BERTELLI Francesco M. GUARDABASSI Attitio PicctrILui 

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Applications for Membership and all further information can be had by writing to 


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25 West 43RD STREET New YORK 











~~ 


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